Kim Anderson

After completing a Bachelor of Fine Arts (Honours) at the University of Ballarat Arts Academy in 2003 and a PG Cert. in Art Conservation at the University of Melbourne in 2006, I was awarded a scholarship to study a Master of Fine Art at the University of Dundee in Scotland, one of the top-5 ranking arts institutions in the UK.  Since completing the MFA in 2008, I have undertaken residencies around the world at Hospitalfield Residential Arts Centre in Arbroath, Scotland, two at Murray’s Cottage in Hill End, NSW, and an Australia Council International Studio Residency in Rome, Italy.  In 2011 I was Australia House Artist-in-Residence in Echigo-Tsumari, in Niigata prefecture, Japan, and the resulting project titled “Skin” was recently shortlisted for the inaugural ArtsHub Awards for “Achievement in the Arts by an Individual or Group”.

I have co-curated and exhibited in numerous solo and group exhibitions both locally and internationally. In 2010 was awarded an ArtStart Grant by the Australia Council.  Throughout the course of my artistic practice I have also conducted workshops with participants ranging from primary school-aged children in disadvantaged rural areas through to elderly Japanese villagers, and was also a committee member of Space 22 in Ballarat, a not-for-profit artist-run gallery that enjoyed a huge amount of success over its 18 months of operation.  Most recently, in January 2012, I was artist-in-residence at the University of Tasmania during which I created a 25-metre-long wall drawing at the Launceston Inveresk campus.

My work in drawing and installation is inspired by the age-old theme of the body. Often using my own body as subject, I am continually fascinated by the expressive potential of the hands, feet and skin, as well as the delicate structures and hidden processes taking place internally. The physical self must surely be considered the starting point for all psychological understanding: it is the vehicle for the emotions, the tangible presence by which we are known to others, and the most immediate tool through which our invisible inner psyche is able to manifest itself and act upon the world.

A recent development in my practice has been to take this interest in the body much further and explore the parallels to be found in both the built and natural world, whether it be an overt bodily reference, inferred likeness, or merely a trace left behind by a hand or foot. In essence, I am interested in the notion that a physical space can take on the characteristics and evoke the same emotions as a human body. Through constant wear our bodies bear the inscriptions of our life experience, our passions and fears and memories layered over one another like a palimpsest, and so too does the surface of a place function in the same way.

In constantly wanting to challenge the capacity of my drawing, my practice has evolved from the production of more traditional works on paper to working ephemerally with installation. Using techniques such as projection and drawing directly onto the walls and floor, I explore the use of alternative surfaces and spaces. My original drawings on paper become transformed by light, scale and the distortions produced by using a three-dimensional space as my working surface. I am continually seeking ways in which to combine these ideas and bridge the gap between my work in two and three dimensions.


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